Hector Berlioz

[ZauberdrachenNr.7]

Berlioz biographer, Hugh Macdonald, whom I've met on several occasions, once told us that he regarded L'Enfance as Berlioz' greatest work.  I have long thought so, but me loves Nuits - a work that seemingly denies the possibility of being overplayed (though interestingly Berlioz tired of it - or at least one of the songs therein - so broadly popular in its day was it).

[The new erato]

Berlioz biographer, Hugh Macdonald, whom I've met on several occasions, once told us that he regarded L'Enfance as Berlioz' greatest work.  I have long thought so, but me loves Nuits - a work that seemingly denies the possibility of being overplayed (though interestingly Berlioz tired of it - or at least one of the songs therein - so broadly popular in its day was it).

Interestingly enough, despite not being particularly interested in Berlioz, these are my two favorite Berlioz works. Perhaps because I find them in some ways the least "Berliozian", unencumbered with programmes and attempts at philosophy.

[ZauberdrachenNr.7]

Coachman (shouting): "Does Monsieur want a coach?"

Monsieur : "My friend, I see clearly you're speaking to me, but I'm just leaving the Berlioz concert and can't hear a word you're saying."

[ZauberdrachenNr.7]

Interestingly enough, despite not being particularly interested in Berlioz, these are my two favorite Berlioz works. Perhaps because I find them in some ways the least "Berliozian", unencumbered with programmes and attempts at philosophy.

Hmmm, uncertain about philosophy, per se, but he was surely imbued with a mania for romantic programmes, literature-inspired,mostly, and from his own feverish brain.  I'm totally into the programme...  (and the feverish brain).

I once had an attorney who - I think - really had little classical listening experience, but was one of those people who memorizes specific works to appear cultured.  When asked about music he would invariably cite Les Troyens with the requisite heavenly regard.  Always made me laugh and wonder if he'd really heard it.  Makes me give the requisite heavenly regard.

[Moonfish]

Berlioz: Symphonie fantastique                     London SO/C. Davis

I have been listening quite a bit to Symphonie fantastique lately. It was quite enjoyable to partake in Bernstein's musings about the work as he explained its "story/quality" to a live audience. Most of the versions I have listened to have been energetic so this one with Colin Davis and the LSO was a bit unusual.  At a little slower pace than I am used to (e.g. as in Bernstein/NYP) and lacking in energy/drive. However, very dreamy in its approach so it becomes a calm, sweet Berlioz journey throughout. Still, I would like to have had a bit more zest and power embedded within the movements. Somehow I associate the "dream" with such qualities. That being said I still liked the recording very much and will not hesitate returning to its aspects.  It is more "dreamy" in its qualities than any other version I have heard!

After reading the reviews on Amazon I got the impression that Colin Davis' last cycle (LSO live) is much less appreciated than his previous Berlioz cycles. Do you agree with the sentiment?

[asin] B000063DQ8[/asin]

from
[asin] B00IJBYUJ4[/asin]

[Moonfish]

What are your overall impressions of the Berlioz set from LSO Live/C Davis? Did you like these recordings, John (I noticed that you bought in a previous post)? Recommended?

[asin] B0000CBLAB[/asin]

[North Star]

I have that LSO live box of Davis' Berlioz, and the Concertgebouw fantastique. People do generally enthuse more over his earlier recordings, but I find no fault in his later recordings.
I asked about these recordings 2½ years, or 6½ pages ago.
I certainly would not advise against the LSO Live set. I'll probably get this one at some point to complement it. Not too much overlap in the works on this and LSO Live box (lots of operas here)
[asin]B00DMUOKGK[/asin]

[Moonfish]

I have that LSO live box of Davis' Berlioz, and the Concertgebouw fantastique. People do generally enthuse more over his earlier recordings, but I find no fault in his later recordings.
I asked about these recordings 2½ years, or 6½ pages ago.
I certainly would not advise against the LSO Live set. I'll probably get this one at some point to complement it. Not too much overlap in the works on this and LSO Live box (lots of operas here)
[asin]B00DMUOKGK[/asin]

Thanks for the feedback, Karlo!  So far I have been quite happy with the Davis/LSO live recordings even though the reviews generally make me expect some auditory mutation. Good to hear that you like his later recordings.  Your post makes me realize that I should probably dig down and read the previous 250 posts (or so) in this thread!     

[North Star]

Thanks for the feedback, Karlo!  So far I have been quite happy with the Davis/LSO live recordings even though the reviews generally make me expect some auditory mutation. Good to hear that you like his later recordings.  Your post makes me realize that I should probably dig down and read the previous 250 posts (or so) in this thread!     

Wait until you've read the entire Haydn's Haus or even just the Bach's Organ Works thread

[Dancing Divertimentian]

After reading the reviews on Amazon I got the impression that Colin Davis' last cycle (LSO live) is much less appreciated than his previous Berlioz cycles. Do you agree with the sentiment?

The LSO Live Beatrice & Benedict I own without question lives up to the older Philips performance but whether that means the rest of the LSO Live performances measure up I couldn't say. Though if I didn't already own the complete Philips Berlioz cube I'd definitely go after that LSO Live mini-cube (I've held it in my hands. Definite cool factor of 11).

However, what may be dampening enthusiasm (generally speaking) for the LSO Live recordings may be related to the issue that I myself have with that LSO Live Beatrice & Benedict I own: sonically it isn't in the same league as the older Philips recordings.

That old Philips Berlioz edition is one of those projects - much like Decca's Britten w/Britten recordings - where the person who oversees these things at the company must've grabbed everyone at the planning committee and proclaimed: "I want these recordings sounding as luscious as we can possibly make them!!".

And from the sound of it that person got exactly what they wanted.

That's not to say the LSO Live series isn't worthy in the ongoing Berlioz sweepstakes. Not by a long shot. But the Barbican isn't exactly an acoustical paradise. I've owned more than one recording from that venue and I've yet to be wowed by the sonics. It's modern sonics no question but there's a subtle flatness that dampens everything for me. Of course, YMMV.

That old Philips Edition built itself up over the years, recording by recording, brick by brick, into a sort of cornerstone of the Berlioz market. Hard to go wrong with the first-class production values, presentation, sonics, and, of course, the man himself Colin Davis whipping up the goods interpretively.

Kinda makes for a tough act to follow.

Like I said, I wouldn't dream of swearing off the LSO Live series but until the Philips (now Decca) is permanently deleted it's the front runner for me.   

[knight66]

I very much agree with the post above, very well put. For sonics the old Te Deum is amazing and I still return to it as my favourite recording. Additionally, I don't think the singers are as characterful or under the skin of their roles in the LSO set as in the earlier one. A number of the Phillips recordings were made after a run of live performances and the cast sounds usually more free and bedded into the roles. There is no good substitute in the LSO discs for Vickers, Baker, Jessye Norman and Gedda. But there is plenty of pleasure to be had in the new set.

Mike

[Mirror Image]

What are your overall impressions of the Berlioz set from LSO Live/C Davis? Did you like these recordings, John (I noticed that you bought in a previous post)? Recommended?

[asin] B0000CBLAB[/asin]

I still haven't listened to all of the performances, Peter. Whenever I get on another Berlioz kick, I suppose I'll have something useful to contribute here. This said, I LOVE Davis' earlier Berlioz on Philips, especially that magnificent performance of the Requiem. It doesn't get much better than that!

[Dancing Divertimentian]

I very much agree with the post above, very well put. For sonics the old Te Deum is amazing and I still return to it as my favourite recording. Additionally, I don't think the singers are as characterful or under the skin of their roles in the LSO set as in the earlier one. A number of the Phillips recordings were made after a run of live performances and the cast sounds usually more free and bedded into the roles. There is no good substitute in the LSO discs for Vickers, Baker, Jessye Norman and Gedda. But there is plenty of pleasure to be had in the new set.

Mike

Yes, agree about the singing on the older set. Always pleasurable.

[Wanderer]

It doesn't get much better than that!

I agree. For somewhat better than that, though:

[asin]B005FLQRMO[/asin]

Embarrassingly enough, nobody has yet mentioned this splendid release in the thread.

[TheGSMoeller]

A very good recording of Damnation, for a good price and Naxos offers what might be the best sounding Damnation on disc. Oh, and it's LIVE! You wouldn't know it unless you read it. I've read a few reviews that some of the soloists may not be on par with some of the other prime recommendations of this piece, but to me it's so dramatically well performed and I find no fault with the singers, orchestra or interpretation. What I do find is impeccable sound for a fiery and emotionally executed recording. My tops still remains Myung-Whun Chung on DG, but I did purchase this Naxos version, couldn't refuse.

[asin]B000F6YWXA[/asin]



Had a first listen to Gergiev/LSO on Spotify. Harold is now extremely well represented on disc, and unfortunatly this new one shows, and says, nothing unique enough to justify adding it. Nothing wrong with the performers, just never received the intensity or imagery that is offered from others.

[asin]B00PHLP4RG[/asin]

[Wanderer]

Given the present context you can bet your toupée it's warranted.

No, not really. As much as I appreciate your good intentions, authentic interpretation of a text is the prerogative of its author. Coming from the source, rest assured that literalism in this case is way off the actual meaning. The whole exchange is also pointless, given that the actual point of the post (McCreesh's Berlioz, lest we forget) lies in a whole other quadrant of the galaxy. 

[knight66]

Berlioz is one of my favourite composers. But I don't 'get' all of his major pieces. One I have wrestled with on and off is Benvenuto Cellini. Yet again I gave it a spin recently and yet again I came away puzzled and fairly repelled by it. It sounds like a dog of a piece to me with long stretches of clotted, rushed music. Other extended passages I find boring. I don't think this is the interpretation. There is about half an hour of music I would extract and ignore the rest. I will leave the damned piece on the sidlines and not keep feeling it is my fault that I can't crack it.

Mike

[Wanderer]

Benvenuto Cellini has baffled me, as well. I've been listening to extended passages now and then over the years and somehow I never committed to actually buying a recording. Maybe some Spotify listening is in order for the whole damn thing. Which version do you have, Mike?

[knight66]

Benvenuto Cellini has baffled me, as well. I've been listening to extended passages now and then over the years and somehow I never committed to actually buying a recording. Maybe some Spotify listening is in order for the whole damn thing. Which version do you have, Mike?

It is the Phillips Colin Davis and I have extended live exerpts from an Italian house, possibly Rome. The recording is not generally available. I did losten on Spotify to the casting scene on another version, but it sounded just as much of a mess.

Mike

[Dancing Divertimentian]

As far as Benvenuto, it may depend on what one is looking for in this music. It isn't the most "structural" of Berlioz pieces and its thematic material might seem stretched thin but there's a redeeming quality I find in the work which makes it as equally satisfying a Berlioz piece as any other he wrote: its expert use of orchestral color.

I don't know if anyone else can manage the piece in this light but I enjoy it greatly.